It is tempting to insert EQs and compressors as soon as you start mixing, but when the levels and stereo positions are not settled, it is difficult to distinguish a problem that needs processing from one caused by a track simply being too loud. Start by finding a balance that makes the song work using only gain, faders, panning, and mute controls.
Creating this fixed basic balance as a static mix gives every later processing decision a clearer purpose.
Finish Editing and Organizing the Tracks First
Clean up noise, unused takes, empty sections of recordings, and obvious timing mistakes, then name and color-code the tracks. Arrange the drums, bass, guitars, keyboards, vocals, and other parts so tracks with similar roles are grouped together.
If you layer mix processing onto material that is still being edited, every replacement can change the basis of your decisions.
Lower the Faders to Create Headroom
If every track remains near 0 dB, their combined level at the master will quickly become too high. Choose a reference track and lower the others to build the balance. The fader positions do not need to line up neatly on screen.
If the recorded levels differ dramatically, use pre-fader clip gain or gain to even them out roughly. Leave headroom on the master, and do not mix into a limiter simply to contain the level.
Set Levels Starting with the Song’s Focal Point
Choose the sound the listener will follow, such as the vocal in a song or the melody or riff in an instrumental. Add the rhythmic foundation next, followed by the chords and decorative elements.
Instead of playing every track from the beginning, start with only the focal point, kick, and bass. This makes the necessary level relationships easier to judge.
Use Panning to Reduce Overlap
Separating guitars or backing vocals in the same frequency range across the left and right channels can make them easier to distinguish without drastic EQ changes. Begin with sounds that anchor the center, such as the kick, bass, and lead vocal, positioned in the middle.
Do not make width an end in itself. Check that one side has not become too heavy and that important sounds have not been pushed to the edges.
Check the Focal Point at Low Volume
Turn down the playback level and listen for whether you can still follow the focal point, rhythm, and chord changes. At high volume, the low and high frequencies stand out, and sheer impact can hide balance problems.
Find a balance where the center of attention does not shift dramatically as you raise and lower the playback volume.
Use Mute to Check Whether a Track Is Necessary
Before you keep raising a track that is difficult to hear, mute it once. If removing it does not change the impression of the song, the issue may be its arrangement or role rather than its volume. Reducing similar layers can allow the remaining sounds to emerge naturally.
Write Down Why Processing Is Needed
Once the static mix is working, write down specific problems, such as “only the ends of the vocal phrases are too quiet,” “certain bass notes jump out,” or “the guitar and keyboard overlap in the midrange.” From there, choose an EQ, compressor, or automation to address the problem.
For an overview of the full mixing process, also see “Where Should Beginners Start When Mixing Music in a DAW?”.
